Popcorn Dick

Live for movies. Die for Popcorn Dick.

[Popcorn Dick @popcorndick151]

Unlike the episodic nature of most road movies, this boasts an expertly crafted three-act structure that allows each act to have its own thoroughly satisfying story arc and conclusion. Every scene is necessary, every laugh is earned, every line is a classic. A perfect movie.

[Popcorn Dick @popcorndick151]

PAPER MOON (1973). The Father’s Day analogue to “Alice Doesn’t Live Here Anymore”. There are many, many, MANY reasons to love this masterpiece — but here’s what struck me this time: Alvin Sargent’s brilliant screenplay.

[Popcorn Dick @popcorndick151]

POSSESSION (1981). Sorry. I cannot buy your tired theory that ‘70s cinema is the best cinema. Not while this movie exists. Zulwaski… Shit, dude. Genius has never —fucking NEVER— been this untethered.

[Popcorn Dick @popcorndick151]

https://t.co/GOoQvrOEB7

[Popcorn Dick @popcorndick151]

And as for this bullshit you’re trying to sell me about Jared Leto’s performance? I’ve got two words for you: Mario Bros.

[Popcorn Dick @popcorndick151]

HOUSE OF GUCCI (2021). A by the numbers script, immaculately dull widescreen compositions, and more spiritless direction by the world’s toniest hack — Mr. Ridley Scott.

[Popcorn Dick @popcorndick151]

“Dune” (2021). Stop trying to make “Dune” happen! Self important silliness that bored me to a degree I didn’t think was possible. What the fuck? I walked out. Life’s too short for this shit.

[Popcorn Dick @popcorndick151]

PostCovidCinemaCount2021: #39 - SUMMER OF SOUL. Let’s just give all the music footage that anybody’s ever shot to Questlove. Goddamn! I love this movie.

[Popcorn Dick @popcorndick151]

#37 - THE SPARKS BROTHERS. For seemingly as long as I can remember, various entities (corporate and otherwise) have been trying to sell me on Sparks. With his documentary, Edgar Wright makes what is perhaps the best pitch yet — though I’m still not sure if I’m buying.

[Popcorn Dick @popcorndick151]

CovidCinemaCount2021: #33 - “In The Earth”. I get it, but Ben Wheatley is never going to make another “Kill List”. It’s not gonna happen. Move on. So what DO we have here? Well, only the most psychotropic movie since “Altered States”. And that’s not nothing, acid-eater.

[Popcorn Dick @popcorndick151]

CovidCinemaCount2021: #32 - “Mother’s Day” (1980). Demoralizing.

[Popcorn Dick @popcorndick151]

CovidCinemaCount2021: #31 - MINARI. My only problem? It was over too soon. I could’ve easily spent another hour with these characters.

[Popcorn Dick @popcorndick151]

CovidCinemaCount2021: #30 - GODZILLA vs. KONG. Yeah, it’s a loud one. I’ll say it again: Bring back the rubber suits.

[Popcorn Dick @popcorndick151]

CovidCinemaCount2021: #29 - NOBODY. So let me get this straight. That “Chicago 7” nonsense gets six Oscar nominations and this gets nothing? What a crock of shit.

[Popcorn Dick @popcorndick151]

...but this was always much more interesting filtered through Eastwood’s womanizing than it was through Douglas’ vanity. The late, great Jessica Walter delivers the kind of commited performance that can only be described as “career killing”.

[Popcorn Dick @popcorndick151]

CovidCinemaCount2021: #28 - PLAY MISTY FOR ME (1971). “Fatal Attraction” would steal the suspense mechanics and primal misogyny and transform the material into some bullshit about the sanctity of the family unit during the Reagan era...

[Popcorn Dick @popcorndick151]

Uncharitably deemed a failure in the wake of “Repulsion”, I found this to be a great deal creepier and more effective than “Don’t Look Now”.

[Popcorn Dick @popcorndick151]

CovidCinemaCount2021: #27 - “Images” (1972). Like most Altman movies, I’d been dragging my feet for years on this one — only to be surprised at how much I ended up liking it (and left wondering why I continue to drag my feet on Altman).

[Popcorn Dick @popcorndick151]

CovidCinemaCount2021:#26 - “The Father”. Although this sort of thing isn’t usually my bag, I thought it was pretty goddamn good. Anthony Hopkins, a man who I assumed had showed me all his tricks long ago, is still capable of surprising and disarming you without a moment’s notice.

[Popcorn Dick @popcorndick151]

CovidCinemaCount’21: #25–BUTCHER, BAKER, NIGHTMARE MAKER (1982). Not to mix “Spinal Tap” and “Baby Jane” references, but if Faye Dunaway cranked the knob to 11 when she played Joan Crawford in “Mommie Dearest”, Susan Tyrell breaks that fucker off in her channeling of Bette Davis.